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Suit No. 27193/16 Page 1 of 19 IN THE COURT OF DR. JAGMINDER SINGH JSCC-cum-ADDITIONAL SENIOR CIVIL JUDGE cum-GUARDIAN JUDGE, DWARKA COURTS, DELHI Suit No. : 27193/16 In the matter of : 1) Smt. Vimla @ Nikky, W/o Sh. Kailash, R/o C-805, Shiv Vihar, J.J. Colony, Hastsal, New Delhi. ........Plaintif Versus 1) Sh. Kuldeep, S/o Sh. Satyanarayan, R/o C-807, Shiv Vihar, J.J. Colony, Hastsal, New Delhi. 2) Sh. Naresh, S/o Sh. Kalu Ram, R/o C-808, Shiv Vihar, J.J. Colony, Hastsal, New Delhi. 3) Sh. Reenu, S/o Sh. Khachedu, R/o C-810, Shiv Vihar, J.J. Colony, Hastsal, New Delhi. 4) The Dy. Municipal Commissioner West Delhi, Tagore Garden, Rajouri Garden, New Delhi-110027. 5) The Sub-Divisional Magistrate (Patel Nagar), Old Middle School Building, Rampura, Delhi. Smt. Vimla @ Nikky Vs. Sh. Kuldeep & Anr. Suit No. 27193/16 Page 2 of 19 6) Delhi Pollution Control Committee, ISBT Building, Kashmere Gate, Delhi. ......Defendants Date of institution of the suit : 05.08.2016 Final Arguments Heard on : 06.07.2019 Date of Judgment : 06.07.2019 Final Decision : DISMISSED SUIT FOR PERMANENT & MANDATORY INJUNCTION JUDGMENT :- 1.
This is a suit for permanent & mandatory injunction.
2. Brief facts necessary for the disposal of the present suit as mentioned in the plaint are that plaintiff is residing on above mentioned address since past many years and defendants no. 1 to 3 are residing just adjacent to the residence of the plaintiff and defendants no. 1 to 3 are doing an industrial activities absolutely in the residential area i.e. properties no. C-807, C-808 & C-810, J.J. Colony, Shiv Vihar, Uttam Nagar, New Delhi without obtaining any permission or license from authorities concerned i.e. defendants no. 4 to 6 or any other competent authority. Plaintiff's husband has Smt. Vimla @ Nikky Vs. Sh. Kuldeep & Anr.
Suit No. 27193/16 Page 3 of 19given a written complaint to SDM, West and SHO, PS Uttam Nagar in respect of industrial activities being carried out by the defendants no.1 to 3 on 06.12.2010 but no concrete action was taken by the defendant no.5 and SHO PS Uttam Nagar. Defendants no. 1 to 3 are doing the work of making hammers, chisels and for that purpose, they have also installed heavey machines in their premises and also used to burn heavy quantity of coals and also used to heavy force on hot iron rods and thereby they create so much pollution i.e. noise as well as air pollution in the locality. Thereafter, plaintiff's husband filed a civil suit against the defendants no. 1 to 5. Hon'ble Court had allowed the application under Order 39 Rules 1 & 2 CPC and thereby restrained the defendants no. 1 to 3 from doing any illegal and unlawful industrial activities from their premises. Later on, the husband of plaintiff and his counsel could not look after properly the case. Therefore, the civil suit filed by plaintiff's husband has been dismissed in default and the restoration application has also been dismissed by by the Court vide Smt. Vimla @ Nikky Vs. Sh. Kuldeep & Anr.
Suit No. 27193/16 Page 4 of 19order dated 06.04.2016. After dismissal of the suit, defendants no. 1 to 3 have again started illegal & unlawful industrial activities form their abovesaid premises. Plaintiff is in the clutches of various types of elements and she is not having good health and on account of the illegal and unlawful industrial activities carried out by the defendants no. 1 to 3, the health of the plaintiff is also deteriorated day by day. Plaintiff has also personally requested to defendants no. 1 to 3 on various dates i.e. 25.06.2016, 15.07.2016 & 24.07.2016, but defendants no. 1 to 3 clearly refused to stop the illegal industrial work carried out by them. Therefore, plaintiff has filed the present suit. Cause of action to file the present suit firstly arose when defendants no.1 to 3 started running illegal & unlawful industrial activities and it further arose when husband of the plaintiff requested them no to to so but in vein. It further arose on 06.12.2010, when plaintiff's husband made a complaint to the defendant no.5 and SHO, PS Uttam Nagar and when plaintiff's husband filed a civil suit. It further arose when civil suit filed by Smt. Vimla @ Nikky Vs. Sh. Kuldeep & Anr.
Suit No. 27193/16 Page 5 of 19plaintiff's husband dismissed in default & restoration application also dismissed. It further arose when defendants no. 1 to 3 again started running illegal & unlawful industrial activities and when husband of plaintiff again requested the defendants no. 1 to 3 not to do so but in vein. It further arose on 24.07.2016, when plaintiff requested to defendants no. 1 to 3 no to do illegal & unlawful industrial activities but they clearly refused to do so and the cause of action is still subsisting. Plaintiff had requested to pass a decree against defendants no.1 to 3 restraining them from doing illegal & unlawful industrial activities from their aforesaid premises without obtaining prior permission or valid license from competent authorities and defendants no.4 to 6 may be directed to ensure the removal of heavy machines as well as coal burning plant installed. Plaintiff had further requested that cost of the suit may be awarded in her favour and against the defendants. This Court is having jurisdiction for trial of this suit.
3. On the suit of the plaintiff, summons were issued Smt. Vimla @ Nikky Vs. Sh. Kuldeep & Anr.
Suit No. 27193/16 Page 6 of 19to the defendants. Defendants no. 1 to 6 were appeared. WS filed on behalf of defendants no. 1 to 3 stating that the plaintiff has not come before the Court with clean hands and the suit is liable to be dismissed; plaintiff has not disclosed true facts before this Court & her husband had filed the false case before Tis Hazari Court with intention to blackmail/extort money from the defendants no. 1 to 3 and again the plaintiff filed this false, frivolous & concocted case before this Court; present suit is liable to be dismissed u/O VII R 11 CPC due to conceal of true facts before this Court. In para wise reply on merit, defendants no. 1 to 3 also denied all the allegations and averments made by plaintiff. WS also filed on behalf of defendant no. 6 stating that the suit of the plaintiff is not maintainable by virtue of Section 41 (h) of The Specific Relief Act; present suit is devoid of any merits and is liable to be dismissed; present suit is an attempt of plaintiff to settle his personal scores with defendant no.1; defendant no. 6 is neither a necessary party nor a property party, hence the suit is not maintainable Smt. Vimla @ Nikky Vs. Sh. Kuldeep & Anr.
Suit No. 27193/16 Page 7 of 19against defendant no.6; the remedy available to the plaintiff is to file a complaint before Magistrate of the concerned ara only after fulfilling mandatory requirements prescribed under the Air (Prevention and Control of Pollution) Act 1981 and the Environment Protection Act, its Allied Act & Rules and Civil Court lacks jurisdiction by virtue of Section 46 & 22 of the Air Act 1981 and 22 of the Environment Protection Act, 1986 to entertain cases relating to pollution and pollution control; plaintiff has not filed any proof whatsoever of the pollution and against the polluting unit and has made bald allegation of pollution; no cause of action subsists as during inspection no industrial activity of blacksmith was found in operation at disputed premises. In para wise reply on merit, defendant no. 6 also denied all the allegations and averments made by plaintiff. Defendants further stated that the suit of the plaintiff is liable to be dismissed. Thereafter, on the basis of the pleadings, the following issues were framed :-
(i) Whether plaintiff is entitled for decree of Smt. Vimla @ Nikky Vs. Sh. Kuldeep & Anr.
Suit No. 27193/16 Page 8 of 19permanent injunction in her favour and against defendants no.1 to 3, as prayed for? OPP.
(ii) Whether the plaintiff is entitled for decree of mandatory injunction in her favour and against defendant no.4 to 6, as prayed for? OPP.
(iii) Whether suit of the plaintiff is liable to be dismissed u/O VII R 11 CPC? OPD-1 to 3.
(iv) Whether present suit is not maintainable against defendant no.6? OPD-6.
(v) Relief.
4. Thereafter, the matter was fixed for plaintiff's evidence. But due to continuous non-appearance on behalf of defendants no. 4 & 5, they were proceeded ex-parte vide order dated 27.10.2018. Plaintiff had examined herself as PW1 who tendered her affidavit Ex.PW1/A and relied upon the following documents :-
1) Ex.PW1/1 i.e. the photocopy of agreement to sell & purchase dated 18.10.2004 (OSR).
2) Ex.PW1/2 i.e. the original site plan.
3) Ex.PW1/3 i.e. photographs of site (Colly) (6 in
numbers).
4) Ex.PW1/6 i.e. the photocopy of Aadhar card
(OSR).
Smt. Vimla @ Nikky Vs. Sh. Kuldeep & Anr.
Suit No. 27193/16 Page 9 of 19
5. Thereafter, PE was closed vide separate
statement of plaintiff. Thereafter, matter was fixed for defendant evidence. Defendants no. 3 had examined himself as DW1 and tendered his affidavit Ex.DW1/1 and he had placed on record copy of his Aadhar Card Ex.DW1/2 (OSR). No witness was examined by other defendants in their evidence and accordingly, DE was closed and matter was fixed for final arguments.
6. Final arguments heard. Ld. Counsel for plaintiff argued that the plaintiff is a peace loving person and is resident of C-805, Shiv Vihar, J.J. Colony, Hastsal, New Delhi. The defendants are residing in her neighbourhood. The defendants are running industrial activities by way of doing the work of making hammers etc. and for that purpose, they also used to burn heavy quantity of coals and further they used heavy force on iron rods. In this process, the defendants are creating air as well as noise pollution which is deteriorating the health of the plaintiff and the defendants are also creating nuisance for the residents of the locality. Smt. Vimla @ Nikky Vs. Sh. Kuldeep & Anr.
Suit No. 27193/16 Page 10 of 19The defendants are having no any permission or license from the concerned authority for running the industrial activity of making the iron instruments. The plaintiff had proved her case with oral & documentary evidence. Therefore, suit of the plaintiff is liable to be decreed in her favour and against the defendants.
7. On the other hand, Ld. Counsel for defendants no. 1 to 3 argued that there is no any industrial activity is in existence at the spot. The defendants were doing their traditional work as they belong to "Lohaar" community. They were doing their work without using any machinery used to industrial activity. The plaintiff is having no locus- standi to file the present suit. The plaintiff himself is neither allottee nor owner of the premises where she is residing as same belongs to J.J. Colony which were allotted to the needy person by the concerned department for their use along with their family members. The plaintiff is residing in that premises in unauthorized manner and therefore, she has not come before the Court with clean hands. Plaintiff has failed Smt. Vimla @ Nikky Vs. Sh. Kuldeep & Anr.
Suit No. 27193/16 Page 11 of 19to prove her case and suit of the plaintiff is without any merit and therefore, same is liable to be dismissed. Ld. Counsel for defendant no.6 argued that the present suit is regarding dispute between the plaintiff and defendants no. 1 to 3. There is no role of defendant no.6. The cause of action or relief sought by the plaintiff does not come under the purview of defendant no.6 and therefore, the suit against defendant no.6 filed by the plaintiff is liable to be dismissed.
8. I have considered the submissions of both the parties and perused the record. I have also gone through the evidence placed on record by both the parties. First of all issue no. (iii) is taken up for adjudication of the suit. Issue no. (iii) is that Whether suit of the plaintiff is liable to be dismissed u/O VII R 11 CPC? Onus to prove these issue is upon defendants no. 1 to 3. The defendants no. 1 to 3 have not produced any evidence in this regard. However, it is settled law that to decide the question that whether suit is liable to be rejected u/O VII R 11 CPC, Court has to see only the contents of the plaint. In the body of the plaint, plaintiff Smt. Vimla @ Nikky Vs. Sh. Kuldeep & Anr.
Suit No. 27193/16 Page 12 of 19has alleged that defendants no. 1 to 3 are doing industrial activity in her neighbourhood and because of the pollution created by the defendants, the health of the plaintiff is deteriorating day-by-day. The plaintiff has prima-facie disclosed the cause of action. Court does not find that in view of the statement made in the plaint, the plaint is liable to be rejected u/O VII R 11 CPC. Hence, issue no. (iii) is decided against defendants no. 1 to 3 and in favour of plaintiff.
9. Issue no. (iv) is that Whether present suit is not maintainable against defendant no.6? Onus to prove this issue is upon defendant no.6. Defendant no. 6 is Delhi Pollution Control Committee. The plaintiff in her plaint raised objection upon the alleged pollution created by the defendants no. 1 to 3. In prayer clause, plaintiff is seeking mandatory injunction against defendants no. 4 to 6. No any evidenced led by defendant no.6 to discharge its onus. In view of the material available on record, Court finds that defendant no. 6 is failed to prove this issue through Smt. Vimla @ Nikky Vs. Sh. Kuldeep & Anr.
Suit No. 27193/16 Page 13 of 19evidence. Therefore, issue no. (iv) is decided against defendant no. 6 and in favour of plaintiff.
10. Issue no. (i) is that Whether plaintiff is entitled for decree of permanent injunction in her favour and against defendants no.1 to 3, as prayed for? Onus to prove this issue is upon plaintiff. During evidence, plaintiff had examined herself as PW1. In her affidavit Ex.PW1/A, she had stated that she is residing at C-805, Shiv Vihar, J.J. Colony, Hastsal, New Delhi since last many years. She has not clarified that in which capacity, she is residing at the given address. She had not placed on record any other evidence regarding her possession/residence at the aforesaid premises like electricity bill, water bill etc. She had filed her Aadhar Card Ex.PW1/6. But same cannot be considered as a conclusive proof that she is in possession and is residing at the address given in Aadhar card.
11. To show the title qua the plot no. C-805 i.e. the address of plaintiff, PW1 has placed on record agreement to sell & purchase dated 18.10.2004 i.e. Ex.PW1/1. According Smt. Vimla @ Nikky Vs. Sh. Kuldeep & Anr.
Suit No. 27193/16 Page 14 of 19to this document one Sh. Radhey Shyam entered into agreement to sell the aforesaid plot to one Sh. Kailash. This document is also accompanied with other document i.e. General Power of Attorney according to which Sh. Radhey Shyam appointed to Sh. Kailash as General Power of Attorney regarding the aforesaid plot No. C-805. During evidence, plaintiff had placed on record only one page each of General Power of Attorney and Agreement to Sell i.e. Ex.PW1/1. If the proved page of agreement to sell is seen separately from the page of general power of attorney, then it is not clarified in agreement to sell & purchase that regarding which plot it is talking. Further plaintiff had placed on record only part of general power of attorney, therefore, same cannot be considered as a proper evidence without going into the contents of whole of the document.
12. Moreover, these documents are prima-facie seems to be executed in favour of Sh. Kailash. It is admitted fact on behalf of the plaintiff that Sh.Kailash is her husband. It is further admitted on behalf of the plaintiff that this plot Smt. Vimla @ Nikky Vs. Sh. Kuldeep & Anr.
Suit No. 27193/16 Page 15 of 19was allotted by the concerned authority of Delhi Government under a special scheme for needy persons and the same was not transferrable. Admittedly, the plot no. C- 805, J.J. Colony, was neither allotted to the plaintiff nor to her husband nor to their ancestors. It is not clarified by the plaintiff either in her plaint or in her affidavit that who is the allottee of the aforesaid plot. During cross-examination, it is admitted by PW1 that the Government of India has not allotted the property in her name and it is stated by her that same was purchased by them. She has not filed any document regarding purchase of the property as she had placed on record only document Ex.PW1/1 which are incomplete documents pertaining to only agreement to sell & power of attorney. Therefore, the plaintiff has not shown her clear locus-standi to file the present suit.
13. In the affidavit Ex.PW1/A, it is stated by the plaintiff that if the relief claimed in the plaint is not granted, then the plaintiff will suffer irreparable loss which cannot be compensated in terms of money. In evidence, it is not Smt. Vimla @ Nikky Vs. Sh. Kuldeep & Anr.
Suit No. 27193/16 Page 16 of 19clarified by the plaintiff that what kind of irreparable loss she will suffer. It is stated by the plaintiff that she is in the clutches of various types of ailments and is not having good health. It is further stated in the affidavit that due to unlawful industrial activities, the health of the plaintiff is deteriorating day-by-day. However, during evidence the plaintiff has not placed on record any document showing that she is suffering from various types of ailments or she is not having good health. She had also not placed on record any document to show prima-facie that because of the alleged industrial activities, her health is deteriorating day- by-day. During cross-examination, it is admitted by PW1 that she had not placed on record any medical document regarding deterioration of her health due to alleged pollution. Therefore, the plaintiff has failed to show any personal grievance/interest in the matter in question. As per Section 41 (j) of the Specific Relief Act, 1963, when the plaintiff has no personal interest in the matter, then the injunction cannot be granted.
Smt. Vimla @ Nikky Vs. Sh. Kuldeep & Anr.
Suit No. 27193/16 Page 17 of 19
14. During evidence, defendant no.3 examined himself as DW1. He stated in his affidavit Ex.DW1/1 that he is doing his ancestral work and he neither use any chemical nor any machine nor any coal nor produced smoke while doing his work. During cross-examination, the plaintiff has put to him a report Ex.DW1/PX filed by Admin Officer, West Zone, according to which during the encroachment removal action, a condemn machine was found fixed in front of H. No. 810, Shiv Vihar, Vikas Puri, New Delhi which has been removed on 04.01.2018. Address of the premises is different as mentioned in the document Ex.DW1/PX and that of the residence of defendant no.3. In the report, there is no mention of J.J. Colony. The report Ex.DW1/PX was not go through by the concerned person who had filed this report. It is also not mention in the report that the said machine was operational or not at the time of its removal. Therefore, it cannot be presumed that the said machine was fixed at the house of defendant no.3 or the same was being used for any industrial purpose or the same was producing any kind Smt. Vimla @ Nikky Vs. Sh. Kuldeep & Anr.
Suit No. 27193/16 Page 18 of 19of pollution etc. No any other evidence has been produced by the plaintiff. To prove that defendants no. 1 to 3 are doing unlawful industrial activities at their premises i.e. C- 807, C-808 & C-810, J.J. Colony, Shiv Vihar, Uttam Nagar, New Delhi. Therefore, in view of the aforesaid discussion, issue no. (i) is decided against the plaintiff.
15. Issue no. (ii) is that Whether the plaintiff is entitled for decree of mandatory injunction in her favour and against defendant no.4 to 6, as prayed for? Onus to prove this issue is upon plaintiff. In prayer clause (b) of the plaint, plaintiff is seeking mandatory injunction that defendants no. 4 to 6 may be directed to ensure the removal of the heavy machine and coal burning plant installed at C-807, C-808 & C-810, J.J. Colony, Shiv Vihar, Uttam Nagar, New Delhi. As discussed above during adjudication upon issue no. (i), plaintiff has failed to prove the fact that the defendants no. 1 to 3 are having any heavy machine at their premises or running any industrial activity. Plaintiff had also not placed on record any evidence that Smt. Vimla @ Nikky Vs. Sh. Kuldeep & Anr.
Suit No. 27193/16 Page 19 of 19defendants no. 1 to 3 at their respective premises i.e. C-807, C-808 & C-810, J.J. Colony, Shiv Vihar, Uttam Nagar, New Delhi, are using any coal burning plant. Therefore, issue no.
(ii) is also decided against the plaintiff.
16. Relief: Present suit of the plaintiff is dismissed.
17. No order as to costs.
18. Decree sheet be prepared accordingly.
19. File be consigned to record room after due compliance.
Announced in the open court Digitally signed on this 06th day of July, 2019 JAGMINDER by JAGMINDER SINGH SINGH Date: 2019.07.06 15:42:35 +0530 (DR. JAGMINDER SINGH) JSCC-ASCJ-cum-Guardian Judge, Dwarka Courts : Delhi
Note: This judgment is having Ninteen pages and each page is bearing my signatures.
(DR. JAGMINDER SINGH) JSCC-ASCJ-cum-Guardian Judge, Dwarka Courts : Delhi Smt. Vimla @ Nikky Vs. Sh. Kuldeep & Anr.


You can specify signature algorithm name such es "RS256"(SHA256withRSA) or "RS512"(SHA512withRSA).
If it isn't un-supported value, it will raise an error.
If malformed JWS Head is specified, it will raise an error.
As for JWS signature verification, please see this sample.


There is considerable uncertainty in model projections of twenty-first century precipitation changes over California 1, 2. These uncertainties are largely a consequence of the sensitivity of Californian rainfall to both tropical and mid-latitude atmospheric circulation changes, such as variability in the El Niño/Southern Oscillation (ENSO) and shifts in the Pacific jet stream 2– 4. California’s winter precipitation has decreased over the past two decades, and between 2012 and 2016 California has entered into one of the most severe droughts on record 5– 9. The impacts of reduced rainfall have been intensified by anomalously high temperatures that have enhanced potential evapotranspiration 5. Several studies posit that California’s drought has an anthropogenic component arising from increased temperatures, with the likelihood of such warming-enhanced droughts expected to increase in the future 5, 10, 11.
The exceptionally dry conditions during the winters of 2012–2015 were accompanied by a prominent dynamical feature: a persistent geopotential ridge located in the North Pacific. This ridge pushed storm tracks further north, resulting in wetter than normal conditions over the northwest and substantial drying over the southwest of the United States 6. A La Niña event in 2011/12 and anomalously warm sea-surface temperatures (SST) over the west tropical Pacific in 2012/13 and 2013/14 may have helped sustain the North Pacific geopotential ridge 6, 8. Climate model simulations forced with observed SSTs alone were unable to capture all the important features of the recent precipitation decline, suggesting that California’s recent precipitation deficit may in part be attributable to other factors, such as internal atmospheric variability 8.
A positive geopotential anomaly in the North Pacific is not unique to the recent drought. Similar anomalies are known to be associated with precipitation decline across the American southwest 4, 12. Most of the existing literature points to anomalous tropical SSTs and convection as dynamical drivers of the geopotential changes in the North Pacific 6, 13, 14. However, at least one study has implicated Arctic sea-ice loss as a possible cause of the drier winters over the American southwest 15– 18. One proposed physical mechanism involves surface warming and geopotential height increase over the newly open ocean areas in the Arctic, which in turn drives anomalous ridging over the North Pacific by perturbing high-latitude planetary wave patterns 15. Although this mechanism is not considered to be a primary driver of California’s precipitation variability, scientific interest in the “sea-ice hypothesis” has been heightened by the pronounced Arctic sea-ice loss over the satellite era and the dramatic sea-ice retreat expected by the end of the twenty-first century 19. Motivated by this, we focus on elucidating the possible mechanisms by which large-scale sea-ice cover changes could affect precipitation over California.
A novel feature of our approach is that we sample the uncertainties in selected sea-ice physics parameters (see “Methods” section and ref. 20), thereby obtaining an ensemble of simulations with a seasonally ice-free Arctic (“low Arctic ice” simulations). These are compared to control simulations representative of sea-ice conditions at the end of the twentieth century. A comparison between “low Arctic ice” and control simulations allows us to isolate the atmospheric response that is solely associated with changes in sea-ice cover. Neither the SSTs nor the sea-ice cover are prescribed in our model simulations. We are therefore able to account for atmosphere–surface ocean interactions and SST changes necessary for propagation of high-to-low latitude atmospheric teleconnections 21– 23. Unlike previous studies that impose artificial energy fluxes to achieve sea-ice loss 24, 25, our sea-ice parameter perturbations allow for energy budget conservation.
Our primary interest is in the fast atmospheric response to sea-ice changes in the first decades after the sea-ice loss has occurred. This fast response is mediated by the surface ocean, and typically dominates the overall response during the first years or decades after the initial high-latitude perturbation 26– 28. We examine this initial response using an atmospheric general circulation model (AGCM) coupled to a mixed-layer ocean model. We do not investigate how this initial atmosphere–surface ocean response may become modulated by the slower deep-ocean response over longer (e.g., century scale) time periods as in refs. 24, 25. We verify that at the short timescales of interest here (<50 years after the sea-ice loss), an AGCM coupled to a slab ocean yields a qualitatively similar short-term response to that produced by the same AGCM coupled to a full ocean model (AOGCM) (see Supplementary Discussion). Our results show that the consequences of Arctic sea-ice decline are not restricted to the Arctic region alone. Loss of Arctic sea-ice cover of the magnitude expected in the next few decades, could induce large-scale atmospheric circulation changes across the Northern hemisphere, resulting in significant drying over California.


Minimalistic Weather Widget
See on Github
See as Mac OS X App
Temperature
Wind
Precipitation
°C
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Getting Location Information...


DR. WAI IN THE SCRIPTURE WITH NO WORDS (1996) Chinese, with English subtitles
Also called: Dr. Wei in the Scripture With No Words Scripture With No Words, The Mo Him Wong Mao Xian Wang Literally translated: 'Adventure King'
Rating: 2.5 stars (out of 4.0) ******************************** Key to rating system: 2.0 stars - Debatable 2.5 stars - Some people may like it 3.0 stars - I liked it 3.5 stars - I am biased in favor of the movie 4.0 stars - I felt the movie's impact personally or it stood out ********************************* A Movie Review by David Sunga
Directed by: Ching Siu-Tung (Cheng Xiaodong) most famous for the CHINESE GHOST STORY movies
Starring: Jet Li Lian-Jie, Rosamund Kwan Chi-Lam, Takeshi Kaneshiro (Gum Sing-Mo), Charlie Yeung Choi-Nei, Billy Chow, Johnny Kong, Law Kar-Ying, Ngai Sing
Written by: Sandy Shaw (Siu Lai-King), Szeto Cheuk-Han, Ah Lun (Lam Wai-Lun)
Ingredients: Indiana Jones-type hero, serial adventure, Nazi-ish caricature villains, torch lit temple, race to find wooden box containing untold power
Synopsis: In this action comedy, Jet Li is Chow Si-kit, a down-and-out serial writer whose beautiful wife Monica (Rosamund Kwan) is on the verge of divorcing him. Si-kit is supposed to be writing the next few chapters of THE ADVENTURE KING, starring the adventures of Dr. Wai, an Indiana Jones style adventurer - - but he's too depressed and he's out of ideas, and the deadline for finishing the last seven of 100 episodes is fast coming up.
This clever plot twist allows the movie to become two stories at once. On the one hand, Si-kit the writer and his two young assistants (Takeshi Kaneshiro, cute Charlie Yeung) find that their suggestion box for ideas is empty and has run out of idea slips. They tangle with Si-kit's wife Monica, who can't seem to decide whether to love Si-kit or leave him.
On the other hand, in the serial adventure, Dr. Wai and his assistants tangle with the dangerous Cammy, Dr. Wai's love interest who can't decide whether to be evil or to be good in a storyline about locating a mysterious empty box and reuniting it with a scroll called 'the scripture with no words.'
Opinion: This is a very entertaining movie that has an independent, zany feel to it - - with lots of potential situation comedy. The plot takes several funny twists and turns because Si-kit, the assistants, and Monica try to one-up each other as they get a hold of each episode, and write the next episode in a way that favors their character while the others are not looking.
Another source of comedy was the over-the-top style of adventure. For example, in one scene, Dr. Wai tosses two hulking sumo wrestlers up in the air like volleyballs, then gets on his back, and kicks them (one with each foot), and the wrestlers go sailing through the air about 40 feet down a warehouse. As the wrestlers are still sailing horizontally, Dr. Wai gets up, runs after them, and then takes them each by one arm and throws them a further 20 feet.
I loved the script to this movie, but I think the adventure scenes are played a little too stiffly. For example, the wild and unbelievably exaggerated scenes which were meant to spoof RAIDERS OF THE LOST ARK are played here mostly straightfaced or serious, whereas a little tongue-in-cheek twinkle of the eye or a Jackie Chan/ Harrison Ford grin and some big music would have added more smiles.
Reviewed by David Sunga March 16, 1998
Copyright © 1998 This review and others like it can be found at THE CRITIC ZOO: http://www.criticzoo.com email<EMAIL_ADDRESS>The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
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review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
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Hey! What's up? So many times since we
Good news coming tonight. Seems they agreed to proceed
Check out my latest email plz!
What about summer break?
Just ain't sure about the weekend now. 90% I'll make it.
Hey what's up? Me and Monica going for a lunch somewhere. Wanna join?


public class Links extends OFModel
OFMLinkDiscovery
| Modifier and Type | Class and Description |
|---|---|
(package private) class |
Links.RESTLink
class to convert Link information into JSON format.
|
OFModel.RESTApi, OFModel.RESTWebUI
| Modifier and Type | Field and Description |
|---|---|
private OFModel.RESTApi[] |
apis
All RESTApi objects associated with this model.
|
protected int |
LINK_TIMEOUT
Timeout as part of LLDP process
|
private java.util.Map<Link,LinkInfo> |
links
Association between a link and the link information
|
private java.util.concurrent.locks.ReentrantReadWriteLock |
lock
Lock for guaranteeing synchronized access to
links ; |
private OFMLinkDiscovery |
manager
reference to the module of this model.
|
private java.util.Map<NodePortTuple,java.util.Set<Link>> |
portBroadcastDomainLinks
Set of link tuples over which multicast LLDPs are received
and unicast LLDPs are not received.
|
private java.util.Map<NodePortTuple,java.util.Set<Link>> |
portLinks
Map from a id:port to the set of links containing it as an endpoint
|
private java.util.Map<java.lang.Long,java.util.Set<Link>> |
switchLinks
Map from switch id to a set of all links with it as an endpoint
|
| Constructor and Description |
|---|
Links(OFMLinkDiscovery manager)
Constructor
|
| Modifier and Type | Method and Description |
|---|---|
void |
addLinkToBroadcastDomain(Link lt)
Put a link into the map of
portBroadcastDomainLinks . |
private boolean |
addOrUpdateLink(Link lt,
LinkInfo newInfo)
Add or Update a link information.
|
Link |
addOrUpdateLink(long remoteSwitchId,
int remotePort,
org.openflow.protocol.interfaces.OFPortDesc remotePhyPort,
long localSwitchId,
int localInPort,
org.openflow.protocol.interfaces.OFPortDesc localInPhyPort,
boolean isStandard,
boolean isReverse)
Add or update link information. used by OFMLinkDiscovery.handleLldp method.
|
private void |
deleteLinks(java.util.List<Link> links)
Delete links from the
switchLinks and portLinks structures. |
void |
deleteLinksOnPort(NodePortTuple npt)
Delete all links associated with a
NodePortTuple object. |
OFModel.RESTApi[] |
getAllRestApi()
return the list of all RESTApi objects.
|
java.lang.String |
getStringRepresentation()
Get the string representation of
portLinks . |
void |
removeLinkFromBroadcastDomain(Link lt)
Remove a link from the map of
portBroadcastDomainLinks . |
void |
timeoutLinks()
Iterates through the list of links and deletes if the
last discovery message reception time exceeds timeout values.
|
java.lang.String |
toString()
return the name of this Model.
|
boolean |
updatePortStatus(java.lang.Long switchId,
int portnum,
org.openflow.protocol.interfaces.OFPortStatus ps)
Update port status.
|
protected final int LINK_TIMEOUT
private java.util.concurrent.locks.ReentrantReadWriteLock lock
links
;private java.util.Map<Link,LinkInfo> links
private java.util.Map<java.lang.Long,java.util.Set<Link>> switchLinks
private java.util.Map<NodePortTuple,java.util.Set<Link>> portLinks
private java.util.Map<NodePortTuple,java.util.Set<Link>> portBroadcastDomainLinks
private OFMLinkDiscovery manager
private OFModel.RESTApi[] apis
public Links(OFMLinkDiscovery manager)
manager
- reference to the module of this modelpublic void timeoutLinks()
public void addLinkToBroadcastDomain(Link lt)
portBroadcastDomainLinks
.
Broadcast domain links are the links found via BDDP packets.lt
- link to put into the list.public void removeLinkFromBroadcastDomain(Link lt)
portBroadcastDomainLinks
.
Broadcast domain links are the links found via BDDP packets.lt
- link to removepublic void deleteLinksOnPort(NodePortTuple npt)
NodePortTuple
object.npt
- a node-port tuplepublic Link addOrUpdateLink(long remoteSwitchId, int remotePort, org.openflow.protocol.interfaces.OFPortDesc remotePhyPort, long localSwitchId, int localInPort, org.openflow.protocol.interfaces.OFPortDesc localInPhyPort, boolean isStandard, boolean isReverse)
Link
and LinkInfo
object,
(remote is set to source, and local is set to destination)
this method first calls addOrUpdateLink(Link, LinkInfo)
method.
Then, if the LinkInfo
is correctly set,
search the LinkInfo
object for the reverse link.
If none, this method sends out a LLDP discovery for the reverse link
by calling OFMLinkDiscovery.sendDiscoveryMessage(long, short, boolean, boolean)
.
For a BDDP packet, this method just tries to enrolls the reverse link information
by calling addOrUpdateLink(Link, LinkInfo)
.public boolean updatePortStatus(java.lang.Long switchId, int portnum, org.openflow.protocol.interfaces.OFPortStatus ps)
switchId
- switch identifierportnum
- port numberps
- OFPortStatus messagepublic java.lang.String toString()
toString
in class java.lang.Object
public java.lang.String getStringRepresentation()
portLinks
.private void deleteLinks(java.util.List<Link> links)
switchLinks
and portLinks
structures.
Called by deleteLinksOnPort(NodePortTuple)
.links
- private boolean addOrUpdateLink(Link lt, LinkInfo newInfo)
links
structure.
If the link was discovered via BDDP packets, the links goes to the
portBroadcastDomainLinks
by calling addLinkToBroadcastDomain(Link)
.
portBroadcastDomainLinks
structure.
lt
- target link to update or addnewInfo
- information of the linkpublic OFModel.RESTApi[] getAllRestApi()
getAllRestApi
in class OFModel


Alfredo Garcia has a powerful baritone voice with a dramatic instinct for the constructions of characters. His voice quality has rich and varied nuances articulated in an impecable diction.
Short bio
Alfredo Garcia obtained his musical education both at Escuela Superior de Canto de Madrid and at Vienna’s Hochschule. He has been awarded with the Premio Amigos de la Opera de Madrid and the Gonzalez Guerrero Award to the Best baritone Voice. He has also been awarded by the Austrian Government.
Alfredo García has played the role of Don Quijote in the worldwide premiere of the opera "El Caballero de la Triste Figura" by Tomas Marco; the role of Don Juan in the opera "Tenorio" by Tomas Marco; the role of Lazaro in the premiere of the opera "Lazaro" by Cristóbal Halffter, or the role of Prigioniero in the Spanish premier of the opera "Il Prigioniero by Dallapicolla".
Alfredo García has sung at the Festival of Tanglewood, or the Festival Internacional Cervantino in México, and at venues such as at the Lincoln Center in Nueva York, the Walt Disney Concert Hall in Los Angeles, the Roy Thomson Hall in Toronto, the Smolarz Auditorium in Tel-Aviv, the Suntory Hall in Tokyo and Mozarteum in Salzburgo.
He has performed with international orchestras: New York Philharmonic, Los Angeles Philharmonic, Dresdner Philhamonie, Israel Philharmonic, the Athens State Orchestra, BBC Philharmonic, National Orchestra of Hungary, Boston Symphony Orchestra. In Spain he has sung with Orquesta Nacional de España, Orquesta of RTVE, Sinfónica de Madrid, ORCAM, ROS in Sevilla, Sinfónica de Asturias, Sinfónica de Tenerife and Enigma.


GitLab bot security
You should understand GitLab's security model, before deciding to run a "bot" service like Renovate on GitLab, particularly the pipeline credentials.
Important: If you have any doubts or concerns about this content that could affect other users, please follow our Security Policy and report them confidentially.
CI_JOB_TOKEN
permissions
The concept of CI_JOB_TOKEN
permissions was overhauled in GitLab release 8.12, jobs are now run with the permissions of the user account which triggered the pipeline.
For security reasons the token was limited to read-only permissions and a limited set of API endpoints, however it’s since been extended to allow write access to the GitLab Package Registry.
Any pipeline triggered by a user account thus has permissions to read any repository which that account has access to as well as publish packages to them.
With the current GitLab CI permissions model, you should avoid committing to any project which you don’t trust completely, because that project could maliciously steal repository data, publish fake releases, or spam releases.
Risks of hosting a Renovate GitLab app/bot/service
The GitLab security model means that the risks of running a public bot service on GitLab are too high, which is why the existing service has been suspended until an alternate security model is ready.
It's also important to remember that when accounts are invited into projects or groups on GitLab, acceptance happens automatically (which was a useful feature to leverage for a shared service).
If you are running a self-hosted Renovate service, it is advisable to:
- Run a shared service only within projects which have shared visibility/security within the users, or which have a low risk that a user would try to gain access to a private project they don't otherwise have access to
- If running with
autodiscover
, also configure a value forautodiscoverFilter
so that the bot can't be invited to projects or groups you don't intend
Security solutions and workarounds
The following research notes may help you to assess the GitLab bot security risk.
Public projects only
If a bot service is run on public projects only, then the risk of private project data being accessed by unauthorized users is zero. However, malicious users can still spoof or spam packages to any other public project they themselves are not a member of, so that rules out this approach for a public hosted service.
A public-visibility-only bot service should be low risk for most self-hosted GitLab instances. There is still a small problem that you can't prevent users from inviting the bot into private projects if they are not aware of the risks of doing so.
Project Access Tokens
Project Access Tokens are a recently added feature for GitLab. The main downsides to their use for a shared bot service are:
- It is not yet possible to provision them through the API, so project maintainers would need to provision a project bot account and then save it to Renovate manually and per-project
- Project Access Tokens are a paid-only feature for gitlab.com, which excludes a large percentage of the public service user base
- At the time of writing, there are still some issues with getting Project Access Tokens to trigger and authenticate CI
- Any service using such tokens would get MRs from a user like
@project_123_bot
which is less intuitive than@renovate-bot
The big benefit of Project Access Tokens is their limited scope, users with write access to one project cannot read/write to other projects.
Group Access Tokens
Group Access Tokens are still in the planning stage, but may offer a more scalable way to manage a Renovate service. Tokens could be provisioned into Renovate per-group and permissions/visibility would need to be kept uniform throughout the group to ensure escalation of privileges is not possible.
It should be noted though that many GitLab users do not have uniform permissions/visibility throughout groups today, so this is a risk of Group Access Tokens in general. Even https://gitlab.com/gitlab-org is a good example of how common it is to mix project visibility within a same group.
Similarly with Project Access Tokens, if they are a paid-only feature then it would exclude free users from using such a service.
Skipping CI
The security problem described above is that if a user triggers a malicious pipeline then they can be exploited, so skipping CI altogether would seem to be a way to avoid that. If Renovate can reliably force CI skipping for both (a) branch push, and (b) MR creation/updating then there should be no security exploit risk, but of course then there are no tests run instead. A possibility in future could be to combine this with a force push from a user or project token to trigger tests.
The above solution/workaround will be actively researched in collaboration with GitLab.
OAuth
An alternative to a bot service running with a bot PAT would be to have it run using user OAuth tokens. In this scenario, an OAuth app would be needed to allow users to "install" the bot into projects with members they trust not to exploit them, and then commits and Merge Requests would appear to be authored by the user, not any bot. Bot services are better if they are provisioned with a "bot identity" so that users can quickly distinguish bot activity from real user activity.
Recommended migration
Until the hosted app can be reactivated, we recommend users migrate to use self-hosted pipelines to run Renovate. Please see the renovate-bot/renovate-runner README on GitLab for instructions on how to set this up as easily as possible.
The Renovate team is working to find a feasible design for the app so that we can reactive it securely in future. We welcome any ideas you may have.
Acknowledgments
Thank you to Nejc Habjan for bringing this security challenge to our attention, and also to his colleagues at Siemens for their assistance researching the risks. Thanks also to the GitLab security team for being responsive to our questions.


|
enable - True to enable dithering, False to disable.
The default Dither mode is True. |
|
Enables or disables hardware dithering.
Hardware dithering is useful when running games in 16-bit colour mode. Due to the fact that 16-bit mode offers less colours than the human eye can detect, separate bands of colour are often noticeable on shaded objects. However, hardware dithering will dither the entire screen to give the impression that more colours are being used than is actually the case. Due to the fact that 24-bit and 32-bit offer more colours than the human eye can detect, hardware dithering is made pretty much redundant in those modes. |
|
; Dither Example
; -------------- Graphics3D 640,480,16 SetBuffer BackBuffer() camera=CreateCamera() light=CreateLight() ; Rotate light so that it creates maximum shading effect on sphere RotateEntity light,90,0,0 sphere=CreateSphere( 32 ) PositionEntity sphere,0,0,2 While Not KeyDown( 1 ) ; Toggle dither enable value between true and false when spacebar is pressed If KeyHit( 57 )=True Then enable=1-enable ; Enable/disable hardware dithering Dither enable RenderWorld Text 0,0,"Press spacebar to toggle between Dither True/False" If enable=True Then Text 0,20,"Dither True" Else Text 0,20,"Dither False" Flip Wend End |


{% extends "base.html" %} {% block title %}
Medieval catalogues > UNIVERSITY AND COLLEGE LIBRARIES OF OXFORD > Corpus Christi College > List of Grocyn's books, divided into manuscript and printed, in or soon after 1520
{% endif %}4 identified entries found.
All data was derived from the List of Identifications by Professor Richard Sharpe.
{% if not printing %}
A key to codes used in the List is available (opens in new tab).{% endif %}


Use this to create a staggered reveal effect for any UL
Tag with list items. Just make sure the list items in the UL
are opacity: 0; to ensure the animation works correctly.
Click Me
This is a description
This is a description
This is a description
This is a description
This is a description
Use this to fade in images. It also animates grayscale and brightness to give it a unique effect.
Click Me
Click Me


Zero to the power of zero, denoted by 00, is a mathematical expression with no agreed-upon value. The most common possibilities are 1 or leaving the expression undefined, with justifications existing for each, depending on context.
In algebra, combinatorics, or set theory, th...


{{ "" | safeHTML }} {{ with .Site.Params.aside.headline }}{{ . }}{{ end }} Name Email How many will join us? 0 - decline with regret 1 2 Other First guest First guest's meal choice Chicken Lamb Vegetarian Second guest Second guest's meal choice Chicken Lamb Vegetarian Additional guests RSVP


--- title: Red Butte Photo of the Day August 24, 2009 date: 2009-08-24 00:00:00 -06:00 categories: - whats-blooming layout: post blog-banner: whats-blooming-now-summer.jpg post-date: August 24, 2009 post-time: 10:41 AM blog-image: wbn-default.jpg ---
Chamomile is a low-growing plant with finely divided leaves. The daisy-like inflorescence has yellow disk flowers in the center and silvery-white ray flowers surrounding them.
When crushed, the plant gives off a scent similar to apples or bubblegum.
Historically this plant has been used to relieve pain, including stomach pain, toothache and sore eyes. More commonly it is used as a mild sedative often in the form of tea.
It is sometimes known as Roman Chamomile or English Chamomile and was introduced to North America by early British settlers.


Hello,
!
Your authorities are:
This section is only visible only for ROLE_USER.
This section is only visible only for ROLE_ADMIN.
This section is only visible only to authenticated users.
The secret message is:
Log in with Amazon Cognito


System Architect Picture "Performance Suspended Activity"
Parent Diagram:
Activity State
(UML Class)


|
C Training
1.0
|
Like AVL, Red Black tree is another way to balance binary search tree. Red black tree's property includes property of BST and other specific property.
A red-black tree is a type of binary search tree. It is self balancing like the AVL tree, though it uses different properties to maintain the invariant of being balanced. Balanced binary search trees are much more efficient at search than unbalanced binary search trees, so the complexity needed to maintain balance is often worth it.
red black tree
at the beginning.
binary search tree
into a red black tree
set
with red black tree


Sephiroth is one of the most loved(!) bosses in Final Fantasy, with one of the most famous FF songs - "One-Winged Angel". Despite all that, though, he's also one of the easiest final battles in the series. His first form - Bizarro Sephiroth - is a two-headed, multi-limbed pupaic monstrosity (indeed, bizarre). Your party must split into two or three groups to defeat him, with each group only having access to a selected group of targets. His next form, Safer Sephiroth (probably mistranslated from Seraph Sephiroth), grows one single wing out his back. His signature attack, "Super Nova", lasts about a minute, and destroys the whole solar system to try to knock you out. (!?!?). The final battle is for cinematic purposes only - a one-on-one with Cloud. See also FF7 Characters.
The final boss of the main game of Final Fantasy 11 and the Lord of the Beastmen. He began the crystal war by gathering most of the beastmen races and attacking the three nations. Though he was defeated by Zeid, the Shadow Lord was defeated, although Volker took the credit. Later when he was resurrected, he was revealed to be Raogrimm, a lost Galkan who gave his soul for vengeance of his love. He starts in his physical form, which is vulnerable to magic. After his defeat there, he switches to Dynamis Lord, his magical form, which is vulnerable to physical attacks. He has many powerful attacks, such as permanent Chainspell, Invincible, Blood Weapon, and the ability to clone himself for a few seconds.
In FF5, the ultimate dragon hides in a normal treasure box, but if the unwary traveler opens it, WHOA! It uses powerful water attacks and absorbs basically anything but physical damage.  Still, can't beat that feeling of accomplishment, eh? In the GBA version, an even stronger Shinryu, Neo Shinryu, can be found in the Sealed Temple, arguably the hardest fight in the whole game! In FF10, Shinryu returns in the Monster Arena, and becomes available after capturing a set of aquatic monsters. He is battled underwater.
Shuyin is the final fight of the FFX-2's storyline. See FFX-2 Characters for more information about his significance. All his attacks are the same as the overdrives of his counterpart, but he goes down quickly.
This old guy is at the very bottom of the Via Infinito. After defeating Paragon, an Omega Weapon-type creature, you are thrust directly into battle with him. He's amazingly fast and strong (both physically and mentally) for a geezer. Winning nets you the Iron Duke accessory, which makes every other battle, even in New Game+, pathetically easy.
Due to the nature of Tactics' battle system (five against one? come on!), this battle is practically a joke. He starts off tough with a bunch of Ultima Demons, but then turns into a winged giant (a la Sephiroth) with super spells like All-Ultima, which really don't pose much of a problem at all. He blows up the airship he's standing on when you're finished with him.
Ultimecia is the main antagonist of FF8 (see FF8 Characters) who only appears and speaks at the end. Although she doesn't have much personality, she packs a lot of punch. Any GF's in the process of being summoned can be wiped out, so that strategy won't work here. She can also remove any one spell (no matter the quantity) at once, even if it is junctioned. After her first form is defeated, she then summons the ultimate GF - Griever. After that is defeated, she then junctions herself to Griever, making a strange merged beast. Her final form is a giant robot sorceress, who has the capability to cast two strong spells - "Hell's Judgement", which will bring the entire party's HP down to one, and "Apocalypse", an ultima-like attack (which can actually be drawn and used by the party).
The final version of Vayne fused with Venat is remarkably similar to Bahamut (in fact, the two take pieces of the warship Bahamut to create this final form). It uses Megaflare, Gigaflare, and Teraflare (its eyes light up red during the second and blue during the third, mirroring the colors of Neo Bahamut and Bahamut ZERO in FF7). (We still need a better image of this.)
Vegnagun is the ultimate weapon, with the capability to destroy Sin, and incapability to distinguish friend and foe. It appears to be controlled by some sort of organ. Yuna, Rikku, and Paine work their way up from the tail to the legs, arms, torso, and finally the head, before confronting the weapon's controller.
AKA Death Machine (JP). This giant robot guards the bridge to Tiamat's lair. The chance of encountering it is only 5%, but if met, its repeated nuclear attacks will bring the heroes to its mercy.
AKA Yazmat (JP). This wyrm is the final mark, and is only available to fight (in the Ridorana Cataract) after beating its little brother, Hell Wyrm, in the Sochen Cave Palace. Both fights have multiple health bars; Yiazmat has over 50 million HP! Both fights also allow you to leave in the middle and heal up; the HP of the boss will remain depleted. Yiazmat can take several hours to beat, after which you gain the last ingredient for the Wyrmhero Blade.
CP: One Deity among Dragons, One great Wyrm to rule all Wyrms of the World, by the Creator Himself created. Legend says it's an Anima, Guardian to a sacred Blade. Though most sacred amongst its Kind, its great Power drove it to Madness, and in the End, it became a threat to it's own Creator. His Master was killed by Yiazmat, robbing Montblanc of all Joy in Life,and he would have Revenge.
In RW, Yiazmat is holed up in the tenth and last floor of the Midlight Deep, and beating him will power up Vaan's Anastasia sword.
Seeing the final boss of FF10 is most definitely a "WTF" moment. This fight is more for cinematic purposes than a challenge, since your characters have auto-life cast on them. Yu Yevon is just a floating, black, blobby squid who first possesses your Aeons and forces you to destroy them. After that, he attacks with spells like Gravija, Ultima, and Osmose. He can heal himself each turn for 9,999 HP, and if that wasn't enough, the Yu Pagodas assist with curing as well. (See FF10 Characters and FF10 Story for more information)
The physical representation of Zemus' rage and hatred looks pretty nasty even when it doesn't do much, but when you reveal its final form, it looks like a cross between a Metroid and an Alien. It uses several freaky spells, including Black Hole.
The final boss in the optional Lunar Ruins, Zeromus EG is named so for the use of his "easy game" version sprite. Using similiar attacks and patterns as his standard version, EG is also appreciably tougher.
The Last Auralith, Feolthanos consists of three parts (Medi, Dex, and Sinis), being the head, right hand, and left hand, respectively. Each has one massive attack, but worse are the Wing Wraiths he constantly summons. When you finally manage to get his HP down, he'll summon Bahamut to give you grief.


Work Experience
Infosys (July 2018 - Sep 2018)
- Part of global internship program of the leading IT company in India
- Developing a mobile blockchain application for the food supply industry using AWS, Ethereum and UI technologies such as AngularJS to increase food safety and reduce recall costs.
UCLA External Affairs (March 2018 - Present)
- Employ Git and JIRA workflows to build and maintain websites such as ucla.edu which attract an average of 20,000 users per day
- Work 13 hour weekly improving websites to optimize performance and accessibility, implementing multiple bug fixes and new features such as a Captcha widget
- Use a variety of languages and tools such as PHP, HTML/CSS, JavaScript, React, FileZilla and MAMP for developing and testing
The Coding School (Jan 2018 - Apr 2018)
- Taught a group of 26 middle school students JavaScript (Drawing and Animation) and closely monitored their progress weekly


The original Perl module for Berkeley DB was DB_File, which was written to interface to Berkeley DB version 1.85. The newer Perl module for Berkeley DB is BerkeleyDB, which was written to interface to version 2.0 and subsequent releases. Because Berkeley DB version 2.X has a compatibility API for version 1.85, you can (and should!) build DB_File using version 2.X of Berkeley DB, although DB_File will still only support the 1.85 functionality.
DB_File is distributed with the standard Perl source distribution (look in the directory "ext/DB_File"). You can find both DB_File and BerkeleyDB on CPAN, the Comprehensive Perl Archive Network of mirrored FTP sites. The master CPAN site is ftp://ftp.funet.fi/.
Versions of both BerkeleyDB and DB_File that are known to
work correctly with each release of Berkeley DB are included
in the distributed Berkeley DB source tree, in the
subdirectories perl.BerkeleyDB
and
perl.DB_File
. Each of those
directories contains a README
file with
instructions on installing and using those modules.
The Perl interface is not maintained by Oracle. Questions about the DB_File and BerkeleyDB modules are best asked on the Usenet newsgroup comp.lang.perl.modules.


VIRTUAL KEYBOARD
Made using HTML, CSS and Vanilla JS
Easy to integrate keyboard
Fast and Responsive
Vanilla JS (
No libraries required !!
)
Click inside the text area to activate the keyboard
CLick on the "Done" button to make the keyboard disappear


Juliette Lewis, Christina Ricci Among 8 Cast in Showtime Pilot 'Yellowjackets'
Survival horror centers on a girls soccer team who becomes stranded in the wilderness
by Reid NakamuraJuliette Lewis and Christina Ricci have joined the cast of the Showtime pilot “Yellowjackets,” the premium cable network announced on Tuesday.
Ella Purnell, Sophie Nélisse, Sammi Hanratty, Sophie Thatcher, Steven Krueger and Amy Okuda will also join the previously announced Melanie Lynskey, Tawny Cypress and Jasmin Savoy Brown.
Created by “Narcos” alums Ashley Lyle and Bart Nickerson, the drama centers on a “wildly talented high school girls soccer players who become the (un)lucky survivors of a plane crash deep in the Ontario wilderness.”
Also Read:
The potential series “chronicles their descent from a complicated but thriving team to warring, cannibalistic clans, while also tracking the lives they’ve attempted to piece back together nearly 25 years later, proving that the past is never really past and what began out in the wilderness is far from over.”
“Destroyer” helmer Karyn Kusama is set to direct the pilot.
Lewis and Thatcher will star as the adult and teen versions of Natalie. Despite her natural talent, Natalie’s punk rock spirit and habit of finding trouble make her the unlikeliest member of the team. As an adult, Natalie struggles to quiet the demons that still haunt her from her time in the wilderness.
Ricci and Hanratty will play adult and teen versions of Misty, the Yellowjackets’ equipment manager. Eager to please and easy to overlook, Misty’s abundance of team spirit belies a hidden dark side.
Also Read:
Purnell will play Jackie, the Yellowjackets’ magnetically charismatic, effortlessly popular, occasionally entitled team captain. Nélisse will play Lynskey’s counterpart as the teen version of Shauna.
Krueger will play Ben Scott, the assistant coach and the object of many an unrequited crush. Okuda will play Cat Wheeler, a history teacher recruited to bolster the female presence on the coaching staff, despite knowing literally nothing about soccer.


--- layout: page title: About header-img: "img/about-bg.png" ---
Full stack web developer with a passion for classical music in the 21st century. With experience in Ruby on Rails, JavaScript, and React and a background in music performance, I discovered web development through my work in software implementation and customer service. I bring strong skills in team-building and project management that help startups develop their vision into real world solutions. I love making music. Whether it is playing in a saxophone choir, singing in a barbershop quartet, or sitting alone at a piano, I cannot get enough.


--- layout: default title: Rackspace Developer Center | developer+ Support ---
Customers on the developer+™ tier can contact support directly twice per month by requesting a call from a
Racker.
In the meantime, you can always:
our team at<EMAIL_ADDRESS>tweet
at us @rackspace
chat
with us in #rackspace on Freenode
post
on our developer forums


Rotation 5:
Project Description:
1. What are the design rules and limitations for the MakerBot Replicator 5th Gen printers?
Design Rules:
-You must use certain applications like Fusion360 to design the object you will be printing.
-After designing, you must export the file to MakerBot in order to print it.
Limitations:
-Only print to the size of the 3D printer.
-Filament runs out over time.
-The base of the object has to be the size of the entire object.
-Objects such as trees must have supports all the way up when printed.
-The printer cannot capture small, intricate details.
2. Pedestal
The next thing I created was my head on a pedestal. First, I had someone else scan my face and put that file onto my computer as an STL. I edited my face on Meshmixer and then imported a pedestal into the file. Editing my face was hard because of all the different tools and their uses. I dragged my head onto the pedestal and exported it to Makerbot to 3D print! The final 3D print came out very well and the small details in my face are clear!
3. Design and print a 3D object that cannot be made subtractively
Using the Fusion360 program, I drew a square and extruded it to 2 inches. Then, I drew a circle on three sides and extruded them to hollow out the box, but at the same time keep the side structures so it would not fall apart. I put in on Makerbot and 3D printed it! When I printed it, it did not come out well because I made the structure too small and was weak. It still looks cool, but not as great as I hoped.
4. Useful 3D Print
Marcella and I decided to download and design a webcam cover for our computers. Using Thingiverse, we found a file of the cover and added designs to make it our own unique print. This is a useful object because it covers your computer camera, so if anyone hacks your computer, they cannot stalk you.


Words from the Wise
Video Game Quotes
Upside down whirlwind !#?whirlwind!
Q*Bert
New Quote
Tweet
Destroy Me!


pcf.particle.aws.glacier package¶
Submodules¶
pcf.particle.aws.glacier.glacier_vault module¶
-
class
pcf.particle.aws.glacier.glacier_vault.
GlacierVault
(particle_definition, session=None)¶ Bases:
pcf.core.aws_resource.AWSResource
This is the implementation of Amazon’s Glacier service. Additional functions that are callable on this particle are upload_archive, initiate_job, list_jobs, delete_archive, delete_job, add_tags_to_vault, list_tags_for_vault
-
_start
()¶ Creates the Glacier vault
Returns: response of boto3 create_vault
-
_stop
()¶ Glacier does not have a stopped state so it calls terminate.
-
_terminate
()¶ Deletes the Glacier vault if vault is empty
Returns: response of boto3 delete_vault
-
_update
()¶ Not Implemented
-
equivalent_states
= {<State.running: 1>: 1, <State.stopped: 2>: 0, <State.terminated: 3>: 0}¶
-
flavor
= 'glacier_vault'¶
-
get_status
()¶ Determines if the vault exists
Returns: status (dict)
-
is_state_equivalent
(state1, state2)¶ Determines if states are equivalent. Uses equivalent_states defined in the Glacier class.
Parameters: - state1 (State) –
- state1 –
Returns: bool
-
state_lookup
= {'active': <State.running: 1>, 'inactive': <State.terminated: 3>, 'missing': <State.terminated: 3>}¶
-
sync_state
()¶ Uses get_status() to determine whether the vault exists or not and sets the current state definition
-


My wife went away to visit some relatives out of town for the day. She doesn't implicitly disapprove of my experiments, but she chooses not to participate with me. Anyway,I see this as a golden opportunity to invite one of my bros over for some beers and other things. I have obtained 165 mg. of the shiny crystals, and plan on splitting it up in four 20 mg. capsules and two 25 mg. capsules, saving the remaining 35 mg. for a rainy day. As I am writing this 2 days after the fact, I am going to dispense with the usual minute by minute account and instead write a general account of what transpired.
My bro came over and we drank a couple of brews and then sprung the question...'do u wanna trip?'
'Sure whaddya got???.This isn't gonna make us puke like the Ayahuasca? Is it?
‘No way dude, this is pure pharmaceutical grade stuff. None of that peripheral plant material that may interact in an unpleasant manner'
'OK dude,let's do it' He was also concerned that the beer we were drinking might not be a good idea. My safety was at stake as well as his so I simply suggested instead of slamming beers we just take it easier than usual. Right away after a few minutes I started feeling something. I did not want to say anything because I was already aware of the hypothesized 'Fundal Absorption'
But as soon as my bro said 'Hey,I can kinda feel something,' I knew I hadn't imagined the quick absorption just because I had read about it. It took him quite awhile to feel the Ayahuasca last time. Anyway, this all occurred while it was still light out. I’d say around 5:30 p.m. Everything was going great, but it wasn't the intense experience I had read about in Tihkal.
My friend on the other had said he was completely ‘trippin'. We went outside smoked some cloves, sipped some Heineken and contemplated round 2.We went back upstairs popped 2 more pre-measured gelcaps, picked up where we left off watching 'Star Trek-the Motion Picture'(Which I may add is an excellent choice when tripping regardless of dose or intensity),when all of the sudden round 2 started to kick in. I felt me third eye beginning to be massaged open, and at that point I closed my eyes forsake the movie and started to meditate.
I could not relate to you the things I saw with my minds eye or thoughts I thought of at the moment. All I could say is that I was in a state of Nirvana. The peak was relatively short, lasting maybe 15 minutes or so, but the comedown was also very pleasant. All this time we were sipping beer and sporadically making trips downstairs for refills. At no time since the first pill poppage would I say that I felt any kind of alcohol intoxication. After the peak, I did notice more visuals did not notice hardly any after the first dose, although, after the second I did notice a blue tinge to everything (including the TV, and the characters in the movie).
I also did notice the effect waning very rapidly. We went down stairs and smoked and discussed the possibility of a 'round 3'.We agreed and at around 11-11:30 p.m. decided to watch ‘Fear and loathing in Las Vegas' (which, by the way, I had never seen. Just had a copy at the house. What a pleasant treat we were in for).
This was the craziest and most appropriate movie I could watch whilst trippin'. Unbelievable. I will have this to say the third trip (which was increased to 25 mg. gelcaps), did come on strong, but seemed to have more of a body load and I did not really peak. I would say it was much more of a plateau. I defiantly felt the strength, but did not reach the top again.
All in all though, I still tripped hard this 3rd time, with even more added visuals and a feeling that time had stopped momentarily. Also,with the third dose I did not come down so rapidly. I stayed at a good level and came down slowly. It was time for bed at around 4a.m. and I took 6 mg. of melatonin, because I hate grasping onto the tail end of a psychedelic trip. My friend declined the melatonin and told me later that he could not sleep. I told him that it took me about an hour to sleep, but I did get a good 8 hours sleep. All in all this was great. I am 29 years old now. Never had a bad trip since I started when I was 15.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


I can act sad. I can act glad. I can act strong. I can act cross. I can act fit. I can act lost. I can act sick. "I cannot go to school, Mum. I am sick." Is it an act" Am I sick" How can Mum tell"


With Scrum, projects progress via a series of month-long iterations called sprints.
Scrum is ideally suited for projects with rapidly changing or highly emergent requirements. The work to be done on a
Scrum project is listed in the Product Backlog, which is a list of all desired changes to the product. At the start of
each sprint a Sprint Planning Meeting is held during which the Product Owner prioritizes the Product Backlog and the
Scrum Team selects the tasks they can complete during the coming Sprint. These tasks are then moved from the Product
Backlog to the Sprint Backlog.
Each day during the sprint conducts a brief daily meeting called the Daily Scrum, which helps the team stay on track.
At the end of each sprint the team demonstrates the completed functionality at a Sprint Review Meeting.
Graphically, Scrum looks something like this:The Daily Scrum
|


Cards
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Hover on me!
Hidden Content
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Hover on me!
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Hover on me!
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Hover on me!
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Hover on me!
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Hover on me!
Buttons
Hover here!
Hover here
Hover here
Text Effects
Hover here for moving gradient.
Click here for something smooth.


I count myself fortunate to have been part of the audience at Saturday night's celebration of the National theatre's 50th birthday. I don't know how it looked to viewers on BBC 2 or in cinemas at home and abroad. But, sitting in the Olivier, what we got was a brilliant kaleidoscopic entertainment that not only evoked the National's past but also, through astute recasting, opened up possibilities for the future.
Obviously it was moving to see legendary actors, either through archival footage or live performance, repeating past successes. There was a white-haired Joan Plowright, filmed at the Old Vic only last month, sternly replying to her accusers as Shaw's Saint Joan. There, too, was Maggie Smith – seen one moment on film rolling a wine glass across her forehead as the affectedly sexy Myra in Coward's Hay Fever, the next moment present in the flesh to deliver a speech from Farquhar's The Beaux' Stratagem with unadorned simplicity. And to see Judi Dench moving from Shakespeare's Cleopatra to Sondheim's Desiree in A Little Night Music was to receive an object lesson in the power of physical stillness and flawless articulation.
But the especial joy of the evening was that it didn't simply recreate the past: it also reinterpreted it. In Pinter's No Man's Land, after a brief glimpse of Ralph Richardson and John Gielgud playing Hirst and Spooner on film, we were presented with the no less moving sight of an alcoholically slumped Michael Gambon and a shabbily ingratiating Derek Jacobi in the same roles. Without effacing the memory of Anthony Hopkins in David Hare and Howard Brenton's Pravda, Ralph Fiennes also proved it was perfectly appropriate to reinterpret the devouring press-baron Lambert Le Roux: where Hopkins was roaming jungle lion, Fiennes was a more voracious, paper-eating panther. And it was fun to see Alan Bennett, bow-tied and quietly shuffling, playing his own creation Hector in The History Boys, and exasperatedly urging a pupil to "lie on the bed in the subjunctive".
The evening also gave one a sense of how the National, and theatre as a medium, has evolved from the Olivier to the Hytner years. In the 60s, I suspect, we looked chiefly for great performances in great plays. Today, as the extracts from War Horse and London Road suggested, theatre is more about visual and formal innovation. But even that idea was subtly subverted when, with seamless technical finesse, the resonant performances of Adrian Lester and Rory Kinnear in Othello were melded with a sound-recording of Olivier and Frank Finlay in the National's 1964 production. At that moment, past and present effortlessly merged.


⇮
HELMETS
Top
Full Face Helmets
SHOP
Modular Helmets
SHOP
Dual Sport Helmets
SHOP
Dirt Helmets
SHOP
Snow Helmets
SHOP
Open Face Helmets
SHOP
Half Helmets
SHOP


Profile Synthesis
1. How much time in total did you spend creating your TrueSelf profile?
Less than 30 min
30 min - 1 hour
1 hour - 1.5 hour
1.5 hour - 2 hours
More than 2 hours
-- Kindly provide the above information --
2. How closely does the profile created by you describe you as a person - to someone reading, who doesn't know you prior?
Below 70% (I could not relate to it much)
70% - 80% (Relate to great extent)
80% - 90% (Relate very closely)
Above 90% (Relate fully)
-- Kindly provide the above information --
3. In what aspects do you think this exercise helped you (choose more than one option if applicable)?
Awareness of my strengths and learning needs
Insight into working together in a team
Understanding how I have grown over last few years
Insight into becoming a better leader
All of these
-- Kindly provide the above information --
4. How likely are you to recommend this assessment to your friends and colleagues?
grade
grade
grade
grade
grade
grade
grade
grade
grade
grade
-- Kindly provide the above information --
5. What is it that you liked most in this exercise? Also, what is it that can be improved further?
-- Kindly provide the above information --
6. Did you face any difficulty in finding any of the Step(s) on the Portal?
thumb_down
thumbs_up_down
thumb_up
-- Kindly provide the above information --
Done


{# # Licensed under the Apache License, Version 2.0 (the "License"); # you may not use this file except in compliance with the License. # You may obtain a copy of the License at # # http://www.apache.org/licenses/LICENSE-2.0 # # Unless required by applicable law or agreed to in writing, software # distributed under the License is distributed on an "AS IS" BASIS, # WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied. # See the License for the specific language governing permissions and # limitations under the License. -#}
{% block content %} {% endblock %} {% if self.reason()|trim %} {% endif %}


Top heading
Some text paragraph
Middle heading
Some text paragraph
Middle heading
Some text paragraph
Bottom heading
Some text paragraph


LIFE-THREATENING
Driver fighting for life in hospital after horror smash with articulated lorry on A92 in Fife
by Blair MeikleA DRIVER is fighting for his life in hospital after collided with an HGV in a horror smash on the A92 in Fife.
Emergency services raced out at 5.20pm after a red Vauxhall collided with an articulated lorry between the Bankhead and Redhouse roundabouts near Kirkcaldy.
The car ended up being wedged beneath the lorry, and the driver had to be cut free by firefighters.
The 41-year-old man who was driving the Vauxhall was rushed to Ninewells Hospital, where he is being treated for life-threatening injuries.
The road was closed until late last night as an investigation was carried out.
Cops probing the crash are appealing to witnesses to come forward.
Sergeant Ewan Pearce, from the Glenrothes Road Policing station, said: “We are asking for anyone who witnessed the crash, or was driving through the area around the time, to come forward with any information they have, which could help our enquiries.
“Anyone with information can contact Police Scotland on 101, quoting incident 2547 of 20 November."


Instant.fm was painstakingly crafted, pixel-by-pixel, by two music-loving Stanford computer science students. We hope that it delights you!
Hi! My name's Feross, and I'm a Stanford student and audiophile. I started this site to make playlist sharing fast and easy so I could share my eclectic music tastes with the world. I hope you'll share yours, too!
Hello! I'm a computer science student at Stanford University, focusing on web programming and computer systems. When I'm not coding, I enjoy biking, LAN parties, listening to audiobooks, and reading Quora.
Want to get in touch, or just say hello? Email us at team@instant.fm.


Recreating Van de Graaf's canon for the web with CSS Grid
Introduction
I first stumbled on Van der Graaf's theory of page layout a couply of years ago, in an article called “The Secret Law of Page Harmony”. Now, I'm not really a believer in the golden ratio theory this ‘secret law’ is based on. Some believers think things designed using the golden ratio are inherently, subconsciously beautiful to the human eye. I do find the golden ratio a useful tool for your arsenal, and I do use it sometimes, often for expressive type scales.
Typography on point
When I'm working on (new) layout techniques, I like to get my typography on point first, because typography plays such a big role in how layout looks and feels. The Van der Graaf layout is meant to scale with the paper you use it on. To complement the Van der Graaf-canon, I'll base my typographic scale on the golden ratio (sometimes called the golden section).
In the browser, layouts are inherently scalable with the canvas, the viewport and beyond. As you might already know, typography can also scale with the viewport size, using vw
and vh
units. To complement the Van der Graaf-canon, I'll base my typographic scale on the golden ratio (sometimes called the golden section).
Using Modular Scale, I end up with the following typographic scale. I listed only the elements I'm sure I'll use here. I'll add elements to the stylesheet as I go.
| HTML element | Font size |
|---|---|
| h1 | 4.236em |
| h2 | 2.618em |
| h3 | 1.618em |
| h4, p | 1em |
I disregard h5
and h6
because I don't often use them. The h4
and p
elements use the same font size, but will be set apart by different styling.
As a starting point, the elements will all have margins of 1.5 × and 0.75 × their font size at the top and bottom respectively. This can be changed as necessary later.
h1, h2, h3, h4, p {
margin: 1.5em 0 0.75em;
}
h1 {
font-size: 4.236em;
}
h2 {
font-size: 2.618em;
}
h3 {
font-size: 1.618em
}
h4, p {
font-size: 1em;
}
You'll have noticed that I haven't used any viewport-based units. Zell Liew wrote about a technique that allows you to use a single CSS declaration to make the whole scale respond to the viewport size. It looks like this.
html {
font-size: calc(1em + 0.25 * (100vw - 45em) / 35);
}
Please note that I'm skipping all of the cross-browser intricacies Zell does talk about in his blog post. I've already updated the declaration to my preferences, scaling the base font size from 1em
to 1.25em
between the viewport sizes of 45e
and 80em
.
Scaling the font size of the html
element, effects all of the elements that inherit font size from it. All of the elements I'm currently using ( h1
, h2
, h3
, h4
and p
) do inherit font size from their parent.
I'm not setting other font sizes anywhere else in the document tree, allowing the elements to scale reliably and predictably according to viewport size. Above the thresholds of the calc()
, I set the font size to fixed values. I use a base font size of 1em
below the viewport width threshold of 45em
, which I do not have to declare a rule for, as it is the browser default.
@media screen and (min-width: 45em) {
html {
font-size: calc(1em + 0.25 * (100vw - 45em) / 35);
}
}
@media screen and (min-width: 80em) {
html {
font-size: 1.25em;
}
}
Lost in translation
Now that the typography and a vertical rhythm have been set up using viewport units, we can start working on the Van der Graaf page layout. After remembering the article this article started with, I wanted to see if I could implement the medieval page layout theories detailed there for the web using the CSS Grid specification. Layouts very much like the Van der Graaf canon one have been in use by monks since the Middle Ages. They have been specifically constructed for layout on tangible media. For digital media, there are several difficulties to overcome.
First, I think that when discussing page layouts the most important difference between physical media and the web is that the web is vertically endless. It's a ‘page’ that doesn't ever stop. Pages in books have well defined bounds and sizes you can use to define a layout as well as vertical rhythm. We already defined the vertical rhythm for our typography, but we are going to have to translate the vertically ‘capped’ print layout somehow.
Second, we are, as is often the case, designing for unknown users with unknown devices in unknown contexts of use. This has to work well in any circumstance.
Building the grid
I started out building a minimal, mobile-first grid. The original canon is based on the spread of a book. For application to digital design we have to account for the fact that devices can either have a portrait or landscape orientation.
In Van de Graaf's page layout both pages of a spread have a 9×9 grid. Mobile devices are often held in portrait orientation, which closely resembles a single page. The right-handed page of the page layout will be our starting point. We'll account for landscape orientation later.
The grid will have 9 columns of equal-sized fractions of the width of the page. For the portrait layout, I'll only use the horizontal characteristics of the Van de Graaf canon.
article {
display: grid;
grid-template-columns: repeat(9, calc(100vw / 9));
}
article > * {
grid-column: 2 / span 6;
}
In the code snippet above, I assign every direct child of the article
to start at the second column in the grid, and tell it to span 6 columns (out of 9), just like in the Van de Graaf canon. And as easy as that, we've got a grid that deals with the horizontal spacing of the article.
Now that this is in place, we've got the ‘single-page’ layout down. This works fine on rotated (landscape) phones or other devices. I want the spread to appear on larger screens.
On screens with a landscape orientation that are bigger than 48em
, I want to respect the vertical rhythm of the Van de Graaf canon.
@media screen and (min-width: 48em) and (orientation: landscape) {
article {
grid-template-columns: repeat(18, calc(100vw / 18));
}
article section > * {
margin-top: calc(100vh / 9);
margin-bottom: calc((100vh / 9) * 2);
min-height: calc((100vh / 9) * 6);
}
}
I solved this by cheating with simple margins instead of CSS Grid rows to reduce complexity and not to cap the vertical height of my content to predefined CSS Grid rows.
Having the vertical rhythm down, I have to tell each and every element in the article where it belongs.
@media screen and (min-width: 48em) and (orientation: landscape) {
article > header {
grid-column: 11 / span 6;
}
article > section:nth-of-type(odd) {
grid-column: 3 / span 6;
}
article > section:nth-of-type(even) {
grid-column: 11 / span 6;
}
article > section:first-of-type,
article > section:nth-of-type(2) {
grid-row: 2;
}
article > section:nth-of-type(3),
article > section:nth-of-type(4) {
grid-row: 3;
}
article > section:nth-of-type(5),
article > section:nth-of-type(6) {
grid-row: 4;
}
}
That's it, a finished implementation of the Van der Graaf-canon for CSS Grid. You can clearly see how this wouldn't scale to any sort of production environment. The vertical page layout of the Van der Graaf-canon that works so well on tangible media, is also what makes it very hard and hacky to work with on digital media. In having to create predefined grid areas, I also had to cut up the article content by hand, picking arbitrary points to break into a next grid area. This causes the layout to look awkwardly empty on some breakpoints.
Lessons learned
The CSS Grid specification by itself isn't enough for editorial text layout with constrained vertical containers. You'd like an article to be able to flow through multiple pre-defined grid areas. Unfortunately, now you have to cut it up into separate areas by hand. In doing so, you will notice your areas look weird on some aspect ratios, due to overflowing. What I wanted to achieve is still out of reach, for now, unless I write some potentially horrible JavaScript, or do hours and hours of art direction on exactly fitting images and text length for sections of the page.
Other possible solutions
CSS Regions could be the answer to my troubles, but it will not be implemented for some time yet. As of yet, only Safari has full support. IE11 and Edge support it partially, other browsers not at all, not even behind a flag. The layout might be achievable using CSS Columns, although after a quick look, I couldn't figure out how to break the columns at a height of 100vh
. Scaling the layout down to one ‘page’, using only the left- or righthand side of the grid, solves all of our problems, although it beats the point of the exercise and will make for a quite ordinary layout.


--- layout: post title: iPhone upgraded in the end! date: '2010-06-21T20:11:00.001+01:00' author: solrevdev tags: modified_time: '2010-06-21T20:11:07.786+01:00' blogger_id: tag:blogger.com,1999:blog-31446756.post-3089907241285004173 blogger_orig_url: http://www.solrevdev.com/2010/06/iphone-upgraded-in-end.html ---
I was able to restore and just re-install. Everything seems ok so far!


Frontend is a light-weight, no-bloat frontend development framework. It's purpose is to give developers a jumpstart utilizing Gulp to automate repetitive tasks, a variables file to quickly configure base elements and a standards-driven approach to help avoid spaghetti code while decreasing new developer ramp-up time.
Unlike other frontend frameworks like Foundation or Bootstrap, Frontend doesn't restrict you to any one in particular. You could think of Frontend like a base framework for others like Foundation and Bootstrap. Use what you like, discard what you don't — keeping your files well optimized.
Frontend is free for personal and commercial projects as long as you are providing a link back to this page. If you don’t want to provide a link back, simply contribute to the development and improvement of this tool. See LICENSE.md file for details.
Download and extract the Frontend files to your project folder. Then run the following in Terminal from that location:
$ bundle install
$ npm install
$ gulp setup
The following commands can be run to compile:
$ gulp
$ gulp setup
$ gulp variables
$ gulp compile
$ gulp lint
$ gulp scripts
$ gulp compass
$ gulp images
Please read CONTRIBUTING.md for details on our code of conduct, and the process for submitting pull requests to us.
We use SemVer for versioning. For the versions available, see the tags on this repository.
See the full list of contributors who participated in this project.
gulp variables
task to automatically setup a application _variables.scss
file.
$button-font-weight
variable.
$button-background
variable.
.screen-reader-text
styles as an extendable (%screen-reader-text
).
$header-letter-spacing
variable.
$header
to $site-header
to fix variable naming conflicts.
$site-header-padding-top
and $site-header-padding-bottom
.
$gutter-style
variable.
$global-weight-light
variable.
gulp setup
task to automatically setup a application for the first time.


Forced Fashion
This piece originally appeared on The Diplomat.
By Ben Dalton
NEW YORK — Inside American Apparel’s brightly lit location in Greenwich Village, 20-somethings pick through the company’s signature clean-cut offerings, flanked by stylized Greek columns. Labels on the clothes read “Made in USA with US and imported components” – the company’s vertically integrated model, with clothes manufactured in Southern California, distinguishes American Apparel from most other large fashion retailers. Online, the company declares its commitment to sustainability, offering an “Organic Line” produced from “100% USDA Certified Organic and pesticide-free cotton.”
Yet, American Apparel is also one of the last major U.S. fashion retailers to refuse to sign a pledge to avoid knowingly sourcing cotton from Uzbekistan, which employs widespread forced labor in cotton production. Another prominent holdout, Forever 21, announced that it would sign the pledge while reporting this story.
Together with Polo Ralph Lauren and a handful of other retailers, American Apparel has ignored calls to join hundreds of other companies in signing the Cotton Pledge, which commits companies “to not knowingly source Uzbek cotton for the manufacturing of any of our products until the Government of Uzbekistan ends the practice of forced child and adult labor in its cotton sector.”
For activists, the silence is frustrating.
“I would love to have them sign on. I think it’s a travesty that they haven’t,” said Patricia Jurewicz, founder and director of the Responsible Sourcing Network (RSN), which created and administers the Cotton Pledge.
Other organizations go even further. Continuing to purchase Uzbek cotton “is an endorsement of state-sponsored slavery,” said Sarah Newell, campaigns associate at the Cotton Campaign, a coalition of human rights, labor and business organizations dedicated to ending forced labor in Uzbekistan. “Every company has an absolute responsibility to take action and boycott Uzbek cotton until the government ceases to mobilize their citizens against their will.”
RSN issued its Cotton Pledge in 2011, beginning with companies that had already committed not to source cotton from Uzbekistan. Today, over 200 companies have joined the effort, including giants such as Wal-Mart, Target and Disney.
Participating retailers cite their commitment to human rights as the deciding factor. One of the last holdouts, Forever 21, agreed to sign the pledge this October. “Forever 21 shares the same goals of eliminating child and adult forced labor, and we are fully aligned with the spirit and purpose of Responsible Sourcing Network’s cotton pledge,” the company said in an email statement.
American Apparel and Polo Ralph Lauren did not respond to requests for comment.
Cotton in Uzbekistan is big business. In 2015-16, the country was the world’s sixth largest producer of cotton, according to the U.S. Department of Agriculture. The five countries that produced more all have populations much larger than Uzbekistan’s 30 million.
Uzbekistan’s government controls every aspect of the cotton industry, imposing quotas on cotton farmers, setting prices and marshaling a workforce of over 1 million citizens each harvest season. Unable to attract workers at the artificially low wage set by the government, officials threaten citizens with “loss of land, confiscation of property, criminal charges, civil fines, and verbal and physical abuse,” according to a September 2016 report from the International Labor Rights Forum (ILRF). Many workers are pulled from their professions as doctors, teachers or civil servants, leaving gaps in vital services during the weeks of the harvest.
“Yesterday, it was published… that one newborn died in the hospital,” said Alisher Ilkhamov, a research associate at SOAS, University of London, and program officer at Open Society Foundations. “The young mother, she didn’t receive treatment and attention from doctors because they were absent. They were all in the cotton fields.”
The campaign to end forced labor in Uzbekistan claims some successes, such as the government acting to ensure that young children are not forced into the cotton fields. However, officials have compensated by replacing child workers with adults, according to a 2015 report from the International Labour Organization.
After buying cotton from farmers at artificially low prices, the government exports thousands of metric tons to foreign buyers. Revenues “disappear into a fund controlled by senior officials which is neither reported to the public nor the national assembly,” according to the ILRF. The system is a holdover from the Soviet era, when the government raised export revenues by forcing children, students and civil servants to pick cotton during the harvest season, Ilkhamov said.
This top-to-bottom state control of the cotton industry is why U.S. activists feel a boycott is appropriate. Jurewicz noted that in other industries her aim is to encourage ethically sourced trade, not shut it down entirely. Uzbekistan is a unique case, she said.
“All the cotton in Uzbekistan is harvested under a corrupt and exploitative system, so it makes sense to boycott because it will put pressure on the government that they have to change,” Jurewicz said.
Among the largest buyers of Uzbek cotton are Bangladeshi traders and companies, said Matthew Fischer-Daly, a student at Cornell University. Until August, Fischer-Daly was the campaign coordinator at the Cotton Campaign. These companies then spin the cotton into yarn, weave fabrics and manufacture the actual garments which brands like Polo Ralph Lauren sell in their stores. American Apparel is unusual in that it controls more links in the manufacturing chain. Most retailers are many steps removed from their raw materials – and that is a problem for companies attempting to avoid Uzbek cotton.
“Many companies, even those that have signed the pledge, continue to manage their supply chain without actually knowing where their cotton comes from,” Fischer-Daly said. Cotton from Uzbekistan goes “to a spinning factory, where it’s often mixed with cotton bales from many other places…That spinning factory is still several tiers down from the U.S. retailer.”
As a result, even U.S. companies that conduct audits of their suppliers may not be able to guarantee that their cotton did not originate from Uzbekistan. That’s why the Cotton Pledge states that companies would not “knowingly” source Uzbek cotton, which Jurewicz said was a strategic decision. She considers signing the Cotton Pledge a “first step,” with rigorous tracking and verification to follow.
“If you can’t even take that very first step, what’s likely happening is that your suppliers are using Uzbek cotton,” Jurewicz said. “They are propping up a government that exploits its own people, putting money into the pockets of the rich and the elite, and minimizing the future of Uzbek citizens.”


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